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The Moonstone and the
Emergence of Detective Fiction
Detective Fiction
Defining Detective Fiction
Detective fiction is a genre that revolves around the investigation and resolution of a mystery or crime. It typically involves a detective, either professional or amateur, who works to uncover clues, piece together evidence, and ultimately solve the case. The genre is characterized by a specific formula or set of tropes, including the presence of a puzzle or mystery to be solved, the gathering of clues and evidence, and the use of deductive reasoning to reach a conclusion.
Popularity of Detective Fiction
Detective fiction, or crime fiction more broadly, is one of the best-selling genres in television and literature. It has a wide range of famous and popular characters that have captured the public's imagination, such as Sherlock Holmes, Hercule Poirot, and Miss Marple. The genre's popularity can be attributed to its ability to engage the audience in the process of solving a mystery, as well as its exploration of themes related to crime, justice, and the human condition.
Themes and Tropes in Detective Fiction
Detective fiction often employs a specific formula or set of tropes, including the use of the "pieces of a puzzle" metaphor to represent the process of unraveling a mystery, the presence of a tangled or complex situation that must be untangled, and the use of deductive reasoning and inference to reach a conclusion. The genre also frequently explores themes related to the supernatural, the gothic, and the darker aspects of human nature.
Setting and Characterization
The setting of detective fiction is often an important element, with the physical environment reflecting the emotional or psychological state of the characters. Common settings include dark rooms, cities, and passages, which can create a sense of danger or unease. The characters in detective fiction can be divided into two main types: the perfect, superhuman detective and the flawed, more human detective. The genre often explores the tension between these two archetypes.
Narrative Techniques
Detective fiction can employ a variety of narrative techniques, including first-person and third-person narration, as well as the use of multiple perspectives or points of view. The genre also often makes use of imagery, symbolism, and themes to convey deeper meanings or explore complex ideas.
The Role of the Reader
As readers of detective fiction, we are invited to participate in the process of solving the mystery, much like the detective themselves. We are tasked with observing details, making inferences, and piecing together the clues to reach a conclusion. This active engagement with the text is a key aspect of the genre's appeal and effectiveness.
Evolving Conventions
The conventions and tropes of detective fiction have evolved over time, reflecting changing societal concerns and anxieties. The genre has adapted to incorporate new technologies, shifting cultural attitudes, and emerging perspectives on crime, justice, and the nature of evil.
Relationship to Sensation Fiction
Detective fiction has a close relationship with the sensation novel, a genre that emerged in the mid-19th century and was characterized by its focus on the sensational, the melodramatic, and the supernatural. Both genres share a fascination with the darker aspects of human nature and the exploration of class, gender, and social tensions.
The Influence of Media and Technology
The rise of mass media, such as newspapers and magazines, has had a significant impact on the development of detective fiction. The genre has been influenced by the sensationalism and exaggeration often found in these media, as well as the public's growing interest in real-life crimes and investigations.
The Tension between Reason and the Supernatural
Detective fiction often grapples with the tension between the rational, deductive approach of the detective and the unsettling, supernatural elements that can lurk beneath the surface of a mystery. This interplay between the rational and the irrational is a key aspect of the genre's appeal and complexity.
narrator who is a friend and collaborator of the detective, a common trope in detective fiction.
Poe's work often explores themes of darkness, mystery, and the supernatural, and "The Murders of Rue Morgue" is no exception. The story includes references to the contrast between reason and superstition, as well as the fascination with the macabre and the decadent aspects of Victorian society.
The Mystery of Marie Roget
Another notable work by Poe is "The Mystery of Marie Roget," which consists entirely of a series of newspaper clippings related to the disappearance and murder of a shopgirl. While the story does not provide a formal solution to the mystery, it offers Dupin's commentary on the case, further establishing the detective's analytical prowess.
The Sensation Novel and the Works of Wilkie Collins
The sensation novel, a popular literary form in the Victorian era, often explored shocking themes such as bigamy, poison, and deceit. One of the most prominent authors associated with this genre is Mary Elizabeth Braddon, whose novel "Lady Audley's Secret" (1862) exemplifies the sensational style.
Another influential figure in the sensation novel genre is Wilkie Collins, a friend and collaborator of Charles Dickens. Collins' works, such as "The Woman in White" and "The Moonstone," are known for their use of multiple narrators, which became a hallmark of the detective fiction genre. Collins' life was also shrouded in mystery, and he was a controversial figure due to his critical views on marriage.
"The Moonstone" (1868), considered one of the first true detective novels, was originally serialized in Dickens' magazine "All the Year Round" and later published in three volumes. The novel's structure, with its multiple narrators recounting the same events, contributed to the development of the detective fiction genre.
The Mystery of the Moonstone
The Moonstone and the Verinder Family
The Moonstone was a valuable diamond that was given as a present to Miss Rachel Verinder, the daughter of Lady Verinder. The diamond was stolen from the Verinder family home, and the story revolves around the investigation into its disappearance. Franklin Blake, Lady Verinder's nephew, suggests that everyone in the family should write down what they know about the story of the Moonstone to help uncover what really happened. Betteredge, the family's house-steward, is tasked with restarting the story from the beginning.
The Arrival of Franklin Blake
Franklin Blake, Miss Verinder's cousin, comes to the Verinder family home after a long period away, having been sent to Germany to study when he was young. Before Franklin's arrival, Betteredge and Penelope (the maid) witness three Indian men coming to the house and asking about the man who was going to arrive, suggesting they were interested in the Moonstone. When Franklin arrives, Rosanna (another maid) has a suspicious reaction to his presence. Franklin shows Betteredge the Moonstone, which his uncle Colonel Herncastle had left as a gift for Miss Verinder.
The History of the Moonstone
Betteredge tells Franklin the story of how Colonel Herncastle, Miss Verinder's uncle, had stolen the Moonstone from India. After taking the Moonstone, Colonel Herncastle's life changed dramatically, and he became a recluse, plagued by a series of misfortunes. On the night of Miss Verinder's 18th birthday, the Colonel came to the house, wanting to reconcile with his sister (Lady Verinder). The Colonel had left instructions for the Moonstone to be given to Miss Verinder upon her 18th birthday, but the reason for this is unclear.
The Disappearance of the Moonstone
On the night of Miss Verinder's birthday party, the Moonstone is placed in an Indian cabinet in her room. The next morning, the Moonstone is discovered to be missing, and the investigation begins. Superintendent Seegrave, the local police officer, suspects one of the servants, but is unable to find any evidence. Sergeant Cuff, a renowned detective, is called in to investigate the case.
Sergeant Cuff's Investigation
Sergeant Cuff believes that the Moonstone was not actually stolen, but that Miss Verinder may have taken it herself. He suspects that Rosanna Spearman, a maid with a past criminal record, may have been involved in some way. Cuff discovers that Rosanna had been behaving suspiciously, buying supplies and visiting a local cottage. Cuff believes that Rosanna may have hidden the dress with paint on it, which could be evidence of who ruined the painting in Miss Verinder's room.
Mr. Godfrey Ablewhite's Withdrawal
Mr. Godfrey Ablewhite, upon learning that Miss Rachel had accepted his proposal only to put the man she loves out of her head, decides not to marry her. He leaves his house, and the next day, his father returns to the house, where he confronts Miss Rachel, accusing her of cancelling the engagement because she believes Godfrey is not good enough for her. Mr. Ablewhite threatens to throw Rachel out of the house, but Mr. Bruff intervenes and invites her to stay at his home. Drusilla Clark also offers her a place to stay, but Miss Rachel chooses to go to Mr. Bruff's residence.
Ezra Jennings' Involvement
Mr. Franklin and Mr. Bruff believe that the Moonstone is now in the possession of Mr. Luker's bank. They decide to keep someone outside the bank to monitor the situation, as the diamond will likely be returned to its country of origin at the end of the year.
Franklin decides to visit Sergeant Cuff, who has retired from his investigative work and now lives in a house surrounded by rose gardens, but finds that the sergeant is away in Ireland. Instead, Franklin meets Ezra Jennings, the doctor's housemaid, and learns that Dr. Candy had sent a message to him through Mr. Betteredge. However, the aging Dr. Candy is unable to recall what he had wanted to convey to Franklin.
The Revelation of the Theft
Franklin ultimately discovers that he had stolen the Moonstone, as he had been unknowingly drugged by Dr. Candy, who had wanted to test a new recipe on him. Franklin took the diamond to protect Rachel from the three Indians, and gave it to Mr. Godfrey, who then kept it for himself. Rachel witnessed the theft but chose not to report Franklin, though she no longer wished to see him.
Dr. Candy had intended to inform Franklin of this the following day, but he fell ill and lost his memory. It was only after a year that the truth was revealed, when Mr. Godfrey was killed by the Indians, who then reclaimed the Moonstone and returned it to its rightful place. This also cleared up the reason why Dr. Candy had given Rachel the opium, and ultimately led to the reconciliation between Rachel and Franklin.
The Contrast between Cities and Countryside
The narrative highlights the contrast between the urban setting of London and the rural countryside, particularly in the context of detective fiction. Superstition is often associated with the countryside, while the city, represented by Frizinghall, is associated with the lower middle classes, and the upper classes are situated in the country house of Yorkshire.
The story begins with a colonial act of aggression in Seringapatam in 1799, where the Moonstone is stolen. The narrative features multiple narrators,
including Gabriel Betteredge, Miss Clack, Franklin Blake, Mr. Bruff, and Ezra Jennings, each providing their unique perspective on the events surrounding the theft of the Moonstone.
The Moonstone combines elements of detective fiction and the romance genre, creating a captivating and entertaining mixture. The narrative explores themes of ownership, colonialism, and the morbid attachment to the Moonstone, as well as issues of nationality and identity, as exemplified by the character of Franklin Blake.
The Hound of the Baskervilles (1902) - Sir
Arthur Conan Doyle
Sherlock Holmes
The Hound of the Baskervilles is a novel written by Sir Arthur Conan Doyle, featuring the famous detective Sherlock Holmes. It was published in 1902, towards the end of the Victorian era and the beginning of the 20th century. Conan Doyle was a very popular writer during this period.
The Victorian Age and the Transition to the 20th Century
The Hound of the Baskervilles was written at the end of the Victorian Age and the beginning of the 20th century. This was a time of significant social and cultural change, as the Victorian era gave way to the modern world.
Sherlock Holmes and Detective Fiction
Sherlock Holmes is one of the most iconic literary detectives of all time. The Hound of the Baskervilles is part of the larger Sherlock Holmes canon, which has had a lasting impact on the genre of detective fiction. Conan Doyle's portrayal of Holmes as a brilliant, eccentric, and analytical investigator has influenced countless other detective stories and characters.
Themes and Motifs
The Hound of the Baskervilles explores various themes and motifs common in detective fiction, such as:
The Supernatural and the Rational
The novel plays with the tension between the supernatural and the rational, as the characters grapple with the possibility of a supernatural hound terrorizing the Baskerville family. Sherlock Holmes, the quintessential rationalist, must investigate these seemingly supernatural occurrences.
The Setting and the Moor
The novel is set in Devonshire, specifically on the Dartmoor, a wild and dangerous landscape that contrasts sharply with the civilized society of London. The moor is described as a "queer" and strange place, evoking a sense of exoticism and strangeness. The gothic elements of Baskerville Hall, with its age-blackened walls and stained-glass windows, further contribute to the atmosphere of mystery and horror.
The moor is central to the novel, as it is the setting for the alleged supernatural events and the potential danger that threatens the Baskerville family. The labyrinth-like nature of the moor adds to the sense of peril and the possibility of the supernatural.
The Supernatural and the Natural
One of the key themes of the novel is the tension between the natural and the supernatural. The question of whether the hound is a real, physical entity or a supernatural manifestation is a central mystery that drives the plot. Conan Doyle's own interest in the paranormal is reflected in this exploration of the boundaries between the natural and the unexplainable.
The novel also features a famous scene where Sherlock Holmes retreats into a state of "intense mental concentration," highlighting his unique methods of observation, deduction, and reasoning. This contrast between the rational, scientific approach of Holmes and the potential supernatural elements of the case creates a compelling narrative tension.
Family, Class, and Race
The novel also explores themes of family, class, and race. The Baskerville family's history and the potential guilt associated with their prosperity, which was partly derived from South African speculation, introduce questions of class and social status. The presence of the convict and the man on the Tor further complicate the narrative, raising issues of race and social outcasts.
Gender and Representation
The novel features several female characters, including the seductive and dangerous Beryl Stapleton, as well as the more virtuous Miss Lyons. The contrast between these representations of femininity and the harsh, threatening landscape of the moor creates an interesting dynamic within the detective fiction genre.
Religion and the Sublime
The novel also touches on themes of religion and the sublime. The Victorian culture's belief in the laws of nature and the potential for supernatural explanations creates a tension within the narrative. The strange mixture of fascination and threat, as well as the combination of horror, criminal
investigation, and gothic elements, are hallmarks of the late Victorian literature and the mystery genre.
Sherlock Holmes and the Supernatural
Dimension
Sherlock Holmes as the Ultimate Rational Investigator
Sherlock Holmes is the ultimate rational investigator, known for his exceptional reasoning abilities. In this late novel by Arthur Conan Doyle, we see a strong attraction towards "the other side" or the supernatural, which contrasts with Holmes' typical dazzling fascination with the rational and logical.
Typical Features of the Detective Formula
The novel combines the typical features of the detective formula, such as the sidekick, femme fatale, mystery, and crime, with a very marked irrational and borderline rational dimension. This creates a blend of Victorian melodrama and detective fiction, different from Doyle's earlier work, such as "The Moonstone."
The Popularity of Detective Fiction
Dorothy Leigh Sayers suggests that the popularity of detective fiction is linked to people's perspectives on mortality and the mysteries of life. As life becomes more mysterious, the genre of detective fiction becomes increasingly important. The rise of detective fiction is also attributed to the increasing technological advancements of the Victorian age, which led to a growing interest in the genre.
The Influence of Edgar Allan Poe
Sayers notes that detective fiction started with Edgar Allan Poe, who combined the elements of detection and criminality with the horror genre. This fusion of genres contributed to the popularity of the detective fiction genre.
The Romantic and the Classic Approaches
Sayers identifies two main lines of development in detective fiction: the Romantic and the Classic (or the Intellectual). The Romantic type is characterized by dramatic incident and atmosphere, while the Intellectual type focuses on clues and puzzle-solving. The Moonstone is an example of a work that combines both approaches.
Motives and the Idea of the "Whole Truth"
Sayers discusses how Agatha Christie's novels place a strong emphasis on the psychology of the characters and their motives, exploring the idea that anyone can become a criminal. She also notes the importance of Poirot's pursuit of the "whole truth" in Christie's novels.
Critical Responses to The Murder of Roger Ackroyd
Sayers presents various critical responses to "The Murder of Roger Ackroyd," including positive reviews that praise the analytical stimulation and the puzzle-solving aspects of the novel, as well as a more critical review that highlights the technical nature of the characterization and the unreliable narrator.
Agatha Christie's Brilliance as a Crime Fiction Writer
Sayers concludes by highlighting Agatha Christie's brilliance as a crime fiction writer, particularly in her ability to create tropes, such as multiple suspects, misleading accounts, competing narratives, and the sleuth detective who uncovers the truth. She also notes the evolution of the genre towards a more introspective and psychological approach.
Defence of Detective Story by G. K.
Chesterton
G. K. Chesterton was one of the first journalists and critics to appreciate the literary merit of detective fiction. In his defence of the genre, he addressed the prevailing attitude of critics who did not consider detective fiction a legitimate form of literature.
The Dismissal of Detective Fiction as Literature
Chesterton noted that detective fiction was not even regarded as a distinct genre at the time. He pointed out that Edgar Allan Poe had written the first police story in 1841, but the first significant defence of detective stories as a literary form did not come until 1901, when Chesterton himself made the case.
Chesterton's Defence of Detective Fiction
Chesterton argued that people often prefer "bad literature to good" and that detective fiction needed to be defended as a legitimate literary form. Many critics dismissed detective fiction as inferior to the works of Shakespeare, for example.
The Social Importance of Detective Fiction
Chesterton, however, saw real advantages in detective fiction. He believed it provided a modern equivalent of the sense of poetry in people's lives, now that the world of epic and heroic tales had been left behind. The city itself, with its contrasts of light and dark, secrets and alleys, could be as "wild as the woods or epic worlds," offering a new kind of poetry for the modern age.
Detective Fiction as a Reflection of Society
Additionally, Chesterton saw detective fiction as a way to remind readers that they live in a world of adventure and chaos, with "traitors within our gates." Paradoxically, the civilisation in which they lived was more dangerous and romantic than their own idea of "rebellion." Police and detectives were the "new heroes of society," keeping vigilant watch over the moral darkness underlying the facts of modern life.
S.S. Van Dine's Rules for Writing Detective Fiction
Chesterton's defence of detective fiction was followed by the American critic and author S.S. Van Dine, who outlined "Twenty Rules for Writing Detective Stories." Van Dine defined the detective novel as a "game" or "sporting event," in which the reader must have an equal opportunity to solve the mystery as the detective. He emphasized that no "wilful tricks or deception" should be placed on the reader, other than those played by the criminal on the detective.
The Golden Age of Crime Fiction
(1920s-1930s)
The Emergence of Detective Fiction
During the Golden Age of Crime Fiction, which spanned the 1920s and 1930s, the genre reached its maturity, particularly in the United Kingdom. The main protagonists of this era were British authors such as Agatha Christie and Dorothy L. Sayers, as well as Belgian writer Georges Simenon and American authors like S.S. Van Dine and John Dickson Carr.
The Detection Club and Its Commandments
In 1930, an official Detection Club was founded in the UK, with 26 founding members including Anthony Barkeley, Dorothy Sayers, G.K. Chesterton, Ronald Knox, Agatha Christie, and Henry Wade. The club's intent was to establish rules and guidelines for the writing of detective fiction. One of the members, Ronald Knox, came up with a set of commandments, including:
The criminal must be mentioned in the early part of the story, but their thoughts cannot be known by the reader. All supernatural or preternatural agencies are ruled out as a matter of course.
attitudes regarding class, gender, race, and religion. The genre has also influenced readers' psychological interpretations of events and their ability to find solutions, with detectives becoming idealized figures.
The Postmodern Approach
In the postmodern era, the detective genre has evolved, with writers often employing parody and subverting the "game rules" of the Golden Age. This reflects a broader shift towards a more skeptical view of the possibility of solving mysteries and finding rational explanations for events.
Dorothy L. Sayers' Portrayal of Gender and
Class in Detective Fiction
The Tone of Criticism and the Morality of the Time
In this passage, there is a tone of criticism towards the idea that the protagonist, Harriet Vane, should not have married her honourably. This suggests that the text is addressing the moral standards of the time, which may have frowned upon such a relationship.
Harriet Vane: The Protagonist and Detective Fiction Writer
Harriet Vane is described as a writer of "so-called 'mystery' or 'detective' stories," which suggests a strong prejudice against her and her profession. The text also notes that Vane "stands out" and is "taking over the novel," indicating her importance as a central character.
Katharine A. Climpson: The Militant Christian and Lord
Wimsey's Agent
Katharine A. Climpson is introduced as a character who works in a cattery, which is described in a misogynistic way as a "group of cats." However, Climpson is also one of Lord Wimsey's most important agents, and is characterized as a "militant Christian" who emphasizes words and is "sensational" in her behavior.
Lord Peter Death Bredon Wimsey: The Unconventional
Detective
Lord Peter Wimsey is the detective protagonist, and he is described as belonging to the higher class with a family motto that suggests a cat-like readiness to catch mice. However, Wimsey is quite different from traditional detectives like Poirot or Sherlock Holmes. He is often unsure of what to do, and feels trapped by the "enormous and complicated imbecility of things." He is also described as being "in love with Vane" and having both feminine and masculine traits, making him an "epicene" character.
Bunter: The Confident and Formal Butler-Detective
Bunter, Wimsey's butler, acts as a "side-kick" and is often sent on missions to assist in solving the mystery. Interestingly, Bunter is described as being more formal, active, and confident than the detective himself, which is a subversion of the traditional detective-sidekick dynamic.
Supernatural Elements and Spiritualism
The text also mentions the presence of supernatural elements, such as spiritual sessions where people attempt to evoke spirits. This is linked to the Psychical Research Society, a scientific organization that explored paranormal activity.
Characterization and Class Representation
The text highlights the importance of characterization, particularly in relation to class. It notes the use of ungrammatical language to represent the lower classes, and the contrast between the "London Bohemia" and the East End, where characters like the alcoholic "Blindfold Bill" reside.
Sayers' Essays and Lectures
The text also briefly mentions Sayers' essays and lectures, suggesting that her fiction and non-fiction writing may have different purposes and unity.
Feminism (Gender)
Questioning the Separation of Women from Men
Dorothy Sayers questions the notion that women should be considered a separate subject from men. She argues that women want the same things as men, and that the emphasis should be on our shared humanity rather than any perceived inequality. Sayers does not believe there is a specific "women's point of view" - she believes both men and women should be treated as part of the same human race. She is strong in her statement that women can and should be able to pursue any job or career they desire, just as men can. The essay "Human not quite human" satirizes the idea of gender stereotypes and Sayers' attempts to break down the traditional distinctions between women and men.
Religion
Sayers' Exploration of Religion in Her Fiction
Sayers' detective fiction contains numerous references to religion.
Sayers' Detective Fiction and the Comedy of
Manners
Sayers' detective fiction is closely related to the comedy of manners genre. The attention to class, dialect, and social nuances allows Sayers to explore the mystery of human nature, which is both revealed and concealed in manners. Critics draw parallels between the worlds of 1660 and 1920, when the comedy of manners genre developed as a way for the middle classes to find refuge in a form with established rules and conventions. Sayers explicitly connects feminism to the issue of class and gender, using it as a way to critique the social system.
Race
Representation of Diversity
While not explicitly mentioned, Sayers' works include characters from foreign countries, suggesting a diverse representation. The discussion in "Human not quite human" satirizes the idea of women as a separate "race" from the general humanity. Sayers attacks the insistence on a clear division between men and women.
Critical Reception of Sayers' Detective Fiction
In 1944-1945, critic Edmund Wilson wrote an essay criticizing the detective fiction genre, including Sayers' works. Wilson initially found detective fiction disappointing, but after re- reading some of Sayers' novels, such as "Strong Poison" and "The Nine Tailors," he acknowledged her literary merits, even though he did not personally enjoy her writing. Wilson recognized Sayers as a more consciously literary writer compared to other detective fiction authors, but he still considered her work "negligible" and believed detective fiction as a genre did not survive as a modern form of storytelling.
Lord Dunsany's Fantastic Tales
Romanzi e racconti (1931-1954)
Lord Dunsany, durante questa fase della sua carriera, ha prodotto una vasta gamma di opere, tra cui "tall tales" (racconti esagerati come quelli di Mr. Joseph Jorkens), storie sull'Irlanda ("The Curse of the Wise Woman"), poesia d'amore alla natura incontaminata irlandese, science fiction, biografie e poesie. Sebbene queste opere non abbiano la stessa vena del periodo
precedente, alcuni aspetti dei suoi racconti fantastici scritti prima della guerra sono ancora presenti.
Caratteristiche dello stile di Dunsany
Linguaggio : Ricco di arcaismi, mutuato esattamente dalla King James' Bible. Il ritmo utilizzato è molto musicale e poetico, ricalcando i ritmi biblici.
Orientalismo : Dunsany usa abbondantemente paesaggi orientali, considerati luoghi dell'oscuro, dove vive l'ignoto e la magia è possibile, custodi di conoscenze arcane e sede di splendidi monarchi con potere assoluto. Tuttavia, in alcuni racconti, l'Oriente diventa superiore all'Occidente, luogo in cui è custodita una saggezza perduta in Occidente. L'occidentale spesso non riesce a comprendere e relazionarsi con l'Oriente.
Natura e arte umana : Queste due dimensioni sono le principali fonti di bellezza, in contrasto con la civiltà moderna frenetica e ansiosa. La vita trascorre in armonia, le arti danno piacere al popolo e la dimensione umana è perfettamente in sintonia con la dimensione naturale.
Liminalità : Spesso non è facile distinguere ciò che è fantastico da ciò che è reale, creando un senso di ambiguità.
Narratore : Dunsany gioca con il narratore, che è molto spesso in prima persona e condivide caratteristiche con lo stesso Dunsany. Tuttavia, il narratore riferisce fatti incredibili che non possono esistere nella vita reale, creando un senso di partecipazione in un circolo di conoscenza segreta.
Ironia : Tipica dello stile di Dunsany, l'ironia è presente in molte delle sue opere. Tuttavia, nel contesto del fantastico, l'ironia può compromettere la credibilità del racconto.
Analisi dei racconti
"Thirteen at Table"
Questo racconto inizia con lo storyteller che racconta di aver partecipato a una delle ultime battute di caccia alla volpe in Inghilterra. Dopo essersi perso, arriva in una tipica casa infestata, dove viene accolto dal padrone e cenato con 12 spettri, ai quali inizialmente non crede. Durante la cena, il narratore inizia a credere nell'esistenza dei fantasmi e finisce per offenderli con una battuta, facendoli scomparire. Il padrone di casa è grato al narratore per averlo liberato dagli spettri.
In questo racconto, la relazione tra il fantastico e il naturale è particolarmente interessante. I veri "fantasmi" non sono gli spettri a tavola, ma piuttosto la volpe, la cui caccia è descritta in termini poetici e quasi mistici, rappresentando ciò che ormai è alieno alla nostra vita moderna.
